a serigraph poster created after an original unique computer generated print that was likely used as a mailing advertisement for the artist’s work
signed lower right in graphite
numbered lower right corner in print
stamped “Don de L’Artist Artist’s Donation” lower left corner
“In the first stage of my work, I constructed my research on numerical signs, alphabetical signs and signs of punctuation. It was necessary to build a system to give a ‘verticality’ to the typographical sign. Why typographical signs? Because these signs, already coded and codified, define the structure of the language and, consequently, of communications. These coded signs have an ‘order’ in space: my aim was to redefine this space. My tools (hardware) during this research period were a typewriter and paper; as for the software, it was a semiological analysis.
For my analysis I used the repertoire of numerical signs (87) and visual signs (10 picas) on my machine. Because these signs have a sequence, they can be declined. Consequently I placed this repertoire on a paradigmatic axis … As in narrative prose, the descriptive enumeration successively articulates elements chosen at random and subsequently assembled in an arbitrary order. After the enumeration, the signs define a permutable order, then combine. On the syntagmatic axis going from left to right, I observe an evolution in which there is a transition from a serial order to a permutable order. I realized that the force of a sign depends not on its semantic value, but rather on its relationship to neighboring signs. To concretize this notion of semiotics, during the second stage of my research, I stripped the sign of its semantic value and gave it a purely spatial character. I thus replaced the substance of the content with a form of the content, reiterating Eco’s theory which states that: “In order to be communicable, the substance of the content must be made into a ‘form of the content’ structurally homologous to its form of expression.”